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Cakenjring Banyumas Traditional Arts Worth As a Cultural Tourist Object

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Cakenjring Banyumas Traditional Arts Worth As a Cultural Tourist Object International Journal of Arts and Social Science www.ijassjournal.com ISSN: 2581-7922, Volume 4 Issue 4, July-August 2021 Cakenjring Banyumas Traditional arts Worth as a Cultural Tourist Object Sukirno1, Furqanul Azies2 Muhammadiyah Purwokerto University Abstract: Cakenjring traditional art is increasingly favored by the Banyumas and surrounding communities. This art is often staged at various events such as welcoming official visits, weddings, circumcisions, and other thanksgiving. Every anniversary of the Republic of Indonesia's Independence day Cakenjring art is celebrated. Even the art of Cakenjring has repeatedly won the traditional music festival at the international level. However, until now this art has not been used as a cultural attraction in Banyumas Regency. Noting this, the purpose of this study was to determine the feasibility of the traditional art of Cakenjring Banyumas as a cultural attraction. This research uses ethnography method to study community behavior directly from its natural environment, hermeneutics method to interpret, give understanding, or translate meaning, and ethnomusicology method to find out social and cultural aspects of music and dance in the local and global context of Cakenjring art. Based on the results of data analysis, it is known that the art of Cakenjring is a collaboration of the arts of Calung, Kenthong and Genjring. This art has a clear identity in the form of groups and is growing rapidly in each village. Cakenjring has a type of music made from bamboo, drums, and flying. The number of artists from 10 to 80 people. The type of stage varies greatly. The costume uses Banyumas traditional clothes. Sources of funds from artists, communities and sponsors. Cakenjring has a good and entertaining moral message. Cakenjring art is increasing and there are improvements from time to time both musical instruments, artists, and poems, so that Cakenjring becomes a spectacle and show that is interested in the wider community regionally, nationally, and internationally. Therefore, the art of Cakenjring is very feasible as a cultural attraction in Banyumas Regency. Keywords: traditional art, cakenjring, cultural attractions, Banyumas I. PRELIMINARY Traditional art is a form of regional art and elements of regional culture that is part of the national culture. Regional languages are languages that are used as the language of intra-regional/inter-community communication in addition to Indonesian and foreign languages which are used as a means of supporting regional literature and culture or ethnic communities in the territory of the Republic of Indonesia. Regional culture is a part of living Indonesian culture. Regional traditional art is an element of regional culture which is part of Indonesian national culture. Banyumas language or often called Banyumasan or ngapak language is a group of Javanese that is used in the western region of Central Java, Indonesia. Some of the vocabulary and dialects are also used in Banten north and the Cirebon-Indramayu area. The dialect of the language is somewhat different compared to other Javanese dialects. This is because the Banyumasan language is still closely related to the Old Javanese language (Kawi) (https://id.m.wikipedia.org). Banyumas traditional art is a cultural wealth that grows and develops in the region of the former Karesidenan Banyumas, covering Cilacap Regency, Banyumas Regency, Purbalingga Regency, and Banjarnegara Regency. In accordance with its geographical location, the arts in the region have been influenced by the cultural centers of the Mataram Palace of Yogyakarta, Surakarta and Sunda. However, over the times the influences from outside Banyumas only enriched kidness, because Banyumas art has its own character, which is Sukirno Page 152 International Journal of Arts and Social Science www.ijassjournal.com ISSN: 2581-7922, Volume 4 Issue 4, July-August 2021 a cultural entity ngapak. The specificity of the Banyumas traditional arts even spread the influence on the surrounding culture, among others, to the area of the former residency of Kedu and Pekalongan (https://id.m.wikipedia.org). Banyumas cultural arts pretty much there are about 36 types, for example lengger, calung, ebeg, shadow puppets, puppet show, painting, mastermind jemblung, peang-penjol, kenthongan, campursari, chickpeas, bongkel, begalan, nodding, gumbeng, aksimuda , sintren, Javanese slawat, gandalia, rengkong, and dimples (Dinpemorkebpar Banyumas Regency, 2013). Of the many arts, some are staged in collaboration/ integrated called cakenjring art (calung, kenthong, and genjring) (http://azitha.blogspot.com/2008/06/06/ cakenjring.html). In the beginning, cakenjring art has not been managed professionally. Her personality is still very simple, just a seasonal tradition. Now the cakenjring art has developed rapidly. Cakenjring is always staged in the celebration/commemoration of the anniversary of Banyumas, the anniversary of the Independence of the Republic of Indonesia, even following the traditional arts festival at the International level of Azitha. 2008. http://azitha.blogspot.com/2008/06/cakenjring.html. However, until now there has not been a place/center for coaching, preservation, staging, development, and research centers cakenjring art as well as a place to visit cultural tourism in Banyumas Regency. If the cakenjring art has a professionally managed formation place it can be used as a place for entertainment and cultural tourism visits in Banyumas Regency. The presence of cultural attractions will bring a positive influence on the interest and presence of domestic and foreign tourists to come to Banyumas. The number of tourist visits will increase the welfare of the people of Banyumas Regency and its surroundings because these tourists will visit several tourist objects in the Banyumas Regency and surrounding areas. They spend their money on typical Banyumas products such as various snacks, clothing, and other souvenirs, and enjoy the beautiful night of the city of Purwokerto. Noting this, the researcher was very interested to study in depth the feasibility of traditional cakenjring as a cultural tourism object in Banyumas Regency. In line with the background above, the purpose of this study is to determine the feasibility of cakenjring traditional arts as cultural tourism objects in Banyumas Regency. Specifically the purpose of this study was to find out more data about calung art, kenthong art, and genjring art in Banyumas Regency. In addition, the development of cakenjring arts performance in Banyumas Regency was also examined. The results of this study have several contributions, namely as a meaningful contribution to thinking to develop knowledge, especially about traditional cakenjring in Banyumas Regency. In addition, the results of this study can be motivated to explore, live up to values, and finally like cakenjring as creative work, preserve local wisdom as a development of sustainable society, and the development of regional culture as a supporter of national culture and an increase in the original income of the regency Banyumas. The meaning of calung according to the Javanese-Indonesian Bausastra (1957: 680) is the name of angklung compatriots. The meaning of calung in the Sundanese General Dictionary is „tatabeuhan tina awi guluntungan, aya anu siga gambang aya anu ditiir sarta ditakolannana bari dijingjing‟ (tetbor made of bamboo, some are like xylophone, some are pinned and beaten while carrying). Understanding calung in the Big Indonesian Dictionary Second Edition (1996: 168) calung which is a musical instrument made of round bamboo that resembles the xylophone is arranged transversely, from top to bottom. Another understanding of Calung is a prototype musical instrument made of bamboo. Calung Banyumasan is a traditional type of percussion-like musical instrument made of bamboo which is located and developing in its native area, namely Banyumas. The meaning of the word calung itself comes from two words that are merged into one, namely "carang pring wulung" (shoots of bamboo wulung) and there are also interpreted "in chop-melung-melung" (at sounding loud). This instrument is known and developed in Banyumas and Sunda. Unlike the angklung that is played by shaking, the way to beat the calung is to hit the blades or sections (bamboo tubes) arranged according to the pentatonic barrel (scales) (da-mi-na-ti-la for Sundanese people, and ji-ro-lu-ma-nem for Banyumas people). Most types of bamboo used for making calung are wulung bamboo (black bamboo), but some are made from awi temen (bamboo bamboo, green) (https://rumahulin.com/calung). Sukirno Page 153 International Journal of Arts and Social Science www.ijassjournal.com ISSN: 2581-7922, Volume 4 Issue 4, July-August 2021 The Calung gamelan in the Banyumas area has a relatively similar tuning system to the gamelan tuning system in the surrounding areas such as Yogyakarta, Surakarta, and Sunda, the slendro pentatonic system which is commonly functioned as a performing arts musical instrument such as lengger and ebeg. During the heyday of the performing arts in Banyumas around the 19970s, the life of the Calung gamelan was very popular. In addition to the position of gamelan calung plays an important role in the life of the performing arts of the Banyumas community. Calung gamelan has an important role as a supporter of a folk art performance such as lengger and ebeg. He also has a form of musical spirit that is very strong in his reflection as a power revealed by Banyumas artists because there is
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